{"id":14962,"date":"2026-03-20T18:23:15","date_gmt":"2026-03-20T17:23:15","guid":{"rendered":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/?p=14962"},"modified":"2026-03-20T19:22:46","modified_gmt":"2026-03-20T18:22:46","slug":"hausmaler-faience-and-the-tulip-fever","status":"publish","type":"post","link":"https:\/\/www.fayence-steinzeug-vogt.de\/de\/hausmaler-faience-and-the-tulip-fever\/","title":{"rendered":"Hausmaler Faience and „The Tulip Fever“"},"content":{"rendered":"\n

A K\u00fcnersberg Faience Jug painted in Augsburg ca. 1750<\/h2>\n\n\n\n

German K\u00fcnersberg faience jug circa 1750, polychrome Tulip and Insects decoration by an Augsburg Hausmaler<\/strong><\/p>\n\n\n\n

\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Tulip symbolizing transience, science and beauty <\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
K\u00fcnersberger Enghalskrug um 1750, von einem Augsburger Hausmaler mit Tulpe und Insekten bemalt, H. 33 cm<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

HAUSMALEREI | STUDIO PAINTING<\/h4>\n\n\n\n

After the decline of the Nuremberg HAUSMALER workshops in the 1720s began the peak period of the Augsburg HAUSMALER. <\/em><\/p>\n\n\n\n

Hausmaler painted the undecorated pieces, which they acquired from factories in Delft, Hanau, Frankfurt and later as well whiteware from Kuenersberg in their own particular technique of schwarzlot or colored enamel. Two groups of craftsmen possessed the required expertise to decorate unpainted faience pieces and fire them in the little muffle-kilns in their workshops. Firstly, the glass painters, who simply applied to faience decoration the technique of muffle-fired painting already known to them from their own craft and, as was usual in monumental glass painting, they preferred schwarzlot; secondly, the goldsmiths, who used their skills in enameling and put the fusible bigments of various colors on the admirably suited faience. As the Hausmaler had their „workshops“ on their own premises they did not have to follow regulations of the guilds and therefore free to expres their own style of craftsmanship. After 1720, Nuremberg had to yield pride of place in the field of this type of STUDIO painting to Augsburg.
(S. 18 f. Bosch, H. (1983). Deutsche Fayencekr\u00fcge des 17. und 18. Jahrhunderts: Sammlungen Hans Cohn, Los Angeles, Siegfried Kramarsky, New York<\/em>. P. von Zabern.)<\/p>\n\n\n\n

Further readings on Hausmaler in this article of collectors weekly : <\/strong>https:\/\/www.collectorsweekly.com\/articles\/hausmaler-decoration-on-fayence-and-porcelain\/<\/a>
This article discusses hausmaler, individual German painters who worked on fayence or porcelain, noting some specific artists and their designs. It originally appeared in the November 1945 issue of American Collector<\/a> magazine, a publication which ran from 1933-1948 and served antiques collectors and dealers.
<\/p>\n\n\n\n

Inspiration<\/h4>\n\n\n\n
\"\"<\/a><\/figure>
\n

BOSSCHAERT, Johannes Dutch painter (b. ca. 1607, Middelburg, d. ca. 1628, Dordrecht) „Still Life with Tulips“
copyright: National Museum in Stockholm<\/p>\n<\/div><\/div>\n\n\n\n

It was Jacob Marrel<\/a><\/strong> (1613\u20131681)\u2014 tulip book draughtsman, Frankfurt flower painter, and stepfather and teacher of Maria Sibylla Merian<\/a><\/strong> (* 2. April 1647 in Frankfurt am Main; \u2020 13. Januar 1717 in Amsterdam) \u2014 who translated the Flemish and Dutch tradition of the flower-with-insect directly into the German workshop vocabulary that Augsburg Hausmaler would inherit a generation later.
Further readings at the Rijksmuseum Amsterdam:<\/strong> https:\/\/www.rijksmuseum.nl\/en\/collection\/object\/Still-Life-with-a-Vase-of-Flowers-and-a-Dead-Frog–1d9349268559bf1a7f761eb6397f0922<\/a><\/p>\n\n\n\n

\"\"<\/a><\/figure>
\n

Still Life with a Vase of Flowers and a Dead Frog<\/p>\n\n\n\n

Jacob Marrel (mentioned on object), 1634<\/p>\n\n\n\n

Jacob Marrel\u2019s specialized in \u2018portraits\u2019 of tulips in bloom. Tulip bulbs were collected fanatically in 17th-century Holland, and astronomical prices were sometimes paid for a single bulb. In this painting as well, tulips play a leading role. The whimsically shaped red-and-white and red-and-yellow striped tulips were especially prized. Although nature creates them, it also lets them wither and die \u2013 just like the dead frog at the right. https:\/\/id.rijksmuseum.nl\/200109450<\/a><\/p>\n<\/div><\/div>\n\n\n\n

Holland and the Tulip Fever<\/h4>\n\n\n\n

The original Dutch term was tulpenwoede<\/strong> \u2014 literally „tulip fury“ or „tulip rage“<\/p>\n\n\n\n

\"\"<\/a><\/figure>
\n

Florilegium amplissimum et selectissimum ist ein zweiteiliges Florilegium von Emanuel Sweerts, das erstmals 1612 in Frankfurt am Main ver\u00f6ffentlicht wurde. Auf 110 Tafeln sind 573 Pflanzen dargestellt. Es wurde bis 1654 mehrfach in fast unver\u00e4nderter Form neu herausgegeben<\/p>\n\n\n\n

Emanuel Sweerts<\/a>: Florilegium. 1647 <\/p>\n\n\n\n

https:\/\/de.wikipedia.org\/wiki\/Florilegium_amplissimum_et_selectissimum<\/a><\/p>\n<\/div><\/div>\n\n\n\n

The tulip’s real breakthrough came in the 1590s when Dutch botanist Carolus Clusius<\/a><\/strong> summed up his knowledge of the subject at the University of Leiden, after meeting Ambassador Busbequius and realizing that the Dutch cultivation conditions suited the exotic flower well. The tulip mania which swept Holland earlier in the seventeenth century produced Dutch treasures like Semper Augustus or Viceroy. Around 1630 there were more than 140 different tulip species registered in the Netherlands. Single and multicolored tulips with streaks, stretches and flaming leaves were divided into different families.<\/p>\n\n\n\n

Read more in this article by the Amsterdam Tulip Museum: <\/strong>https:\/\/amsterdamtulipmuseum.com\/pages\/tulip-history-tulipmania-netherlands<\/a><\/p>\n\n\n\n

Museum Reference Hetjens Museum D\u00fcsseldorf<\/h4>\n\n\n\n
\"\"<\/a><\/figure>
\n

Enghalskrug Kuenersberg 1745 – 1760
H. 32 cm. <\/p>\n\n\n\n



Abb. 79 \/ S. 206
Klein, Adalbert, and Carlfred Halbach. Keramik aus 5000 Jahren: 107 Meisterwerke aus dem Hetjens-Museum<\/em>
Inventar Nr. R 54<\/p>\n\n\n\n




<\/p>\n<\/div><\/div>\n\n\n\n

Literature<\/h4>\n\n\n\n
\"Bosch,<\/figure>
\n

English and German Edition
Bosch, Helmut: Deutsche Fayencekr\u00fcge des 17. und 18. Jahrhunderts. Sammlungen Hans Cohn, Los Angeles. Siegfried Kramarsky, New York. Mainz: Von Zabern 1983.<\/p>\n<\/div><\/div>\n\n\n\n

\"\"<\/figure>
\n

Klein, Adalbert, and Carlfred Halbach. Keramik aus 5000 Jahren: 107 Meisterwerke aus dem Hetjens-Museum, Deutsches Keramik-Museum, D\u00fcsseldorf<\/em>. Schwann, 1979.<\/p>\n<\/div><\/div>\n\n\n\n

Related Articles<\/h3>\n\n\n\n
\n
Hausmaler Vase K\u00fcnersberg<\/a><\/blockquote>